• TalkBass has been independent since 1998. Add your voice.
    Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
    Join freeLog in
    Want zero display ads or expanded classifieds tools? Compare plans.

Thunderbird Club

I kinda wish I hadn't let that ACC 408 cabinet go. 4 15s. I think they were EVs, but don't remember. With a 320 head, that was a great sounding stack. I sometimes wonder if I should have let the 360 stack go instead.
Water under the bridge.


Dry that bass out, dude!
 
One release I didn't buy on time was the recently released 8CD box of "Live And Dangerous" and it seems it's already sold out. Contains all the shows the original album was compiled from plus the original album and judging from what I've been listening on Spotify it's just marvellous. It's been said or even exaggerated that the original album was overdubbed to death to the point of drums being the only thing live but that is just bull.
I wish they would release at least two shows separately, from '76 and '77. Or print another run when I have more money.



A window selfie at backstage from yesterday's gig. I'm sulking because of the Lizzy box...
20230127_164015-02.jpeg
 
Good evening Thunderbird loving sisters and brothers, and a belated happy Friday. Some of the folks in my Middle Eastern/Mediterranean band are starting another project to play some rock and blues. One of the songs I have been asked to learn is the old Stones tune, Sympathy for the devil. I have found this song to be surprisingly challenging. I don't often play with a pick, but this song seems to call for it. In the past I have used a thick felt pick,, but the firm plastic seems better for this song. I found it a bit easier on my Thunderbird than my 5 string Jazz, but still a challenge. Any advice on how to make this song work would be greatly appreciated. Have a great weekend folks!

Hah! I played this song in my High School combo! Back then (as a teen) I had no clue of nuance or 'feel, so most likely I played the roots as best I could. Listening to it as I type, @Count Bassie's insights are spot-on. Bill Wyman is taking a lot of liberties on this song - he's rockin' it as he feels it. He covers the roots for sure, but he's pushing the song forward with his driving articulation. Tone wise, it sounds like a hollow-body through a big 15" or 18" speaker - woody/wooly/bassy. (flats for sure) Might have the bridge muted or is using palm-muting to keep it plunky. Remember BW also played double-bass, so he's "old-school" favoring an acoustic bass tone even on electric bass guitar.

Any pick that allows you articulation is what you want - experiment with all shapes and thicknesses until you find one that works for you. Get loose, let it flow - fill the song with bass - that's what BW did. :bassist:
 
Update on the string change:
I brought my NR with the new GHS Bass Boomers on it to practice on monday. They did sound better than the stock strings, but I'm still missing the full-on aggressive mid-thrust I'm used to from my P with the Curtis Novak PB-90 (that pickup is gold). It does sound great, but there is quite a bit of mid scoop and boomy lows going on, so it's not really cutting through. Yeah, I know, the bird is not a P at all, but after my pre-buy research, I felt assured it would be fuller sounding and more mid-forward than this. It's no disaster, not at all, but I did switch back to my P mid-practice and had much more fun.

So: is the pickup position the main problem, as was suggested earlier, or could I get closer to what I want with a more mid-focused pickup? I was thinking about reaching out to Curtis Novak to hear if he can make a pickup that sounds close to the PB-90, but in a TB housing. On the other hand, I'll gladly save the few hundred bucks and work with what I have if a pickup swap is futile.
Do you use a high pass filter?
 

Latest posts